CELIA GERARD
CELIA GERARD
EYES TURNED SKYWARD
MAYA FRODEMAN GALLERY
With enduring gratitude, this exhibition is dedicated to the memory of Jane Rosen (1950–2025), my beloved mentor and dear friend, whose wholehearted love for drawing showed me the difference between looking and seeing.
“Once you have tasted flight, you will forever walk the earth with your eyes turned skyward.” — Leonardo da Vinci
EYES TURNED SKYWARD
Eyes Turned Skyward presents a new body of work that builds upon Celia Gerard’s long-standing investigation into the poetics of abstraction and the epistemology of form. These mixed-media drawings, constructed through drawing, erasure, sanding, collage, and reconfiguration, engage abstraction not as a reductive system but as a generative, openended method for spatial and metaphysical inquiry.
Gerard’s practice occupies a hybrid space between architectural structure and atmospheric fragility. Repeating geometric motifs—triangles, arcs, radiating planes—are embedded within veiled, sanded surfaces that suggest both accumulation and erosion. Each work evolves through a durational process that deliberately foregrounds its own making and unmaking. The material operations— scoring, layering, tearing—function as both formal strategies and conceptual signals, questioning the permeability of boundaries (between object and image, gesture and structure, presence and trace) while searching for objectively true form.
Critically, Gerard’s work enters into dialogue with a lineage of artists who approach abstraction as a mode of philosophical and affective labor—Hilma af Klint, Agnes Martin, and Dorothea Rockburne being early reference points. But Gerard also positions herself in relation to more contemporary discourses around feminist materiality and embodied time. Her process aligns with what theorist Elizabeth Grosz describes as “volumetric thinking”—a way of making form that resists flatness, literalism, or speed. The work resists the visual economy of immediacy; instead, it proposes slowness, accumulation, and the durational trace of attention as critical acts.
Gerard’s use of simple, traditional materials— paper, graphite, gesso, pigment—further distances her practice from spectacle. Her surfaces bear evidence of labor and revision, situating the work within contemporary conversations around “slow abstraction” and the aesthetics of maintenance. The pieces are not resolved images but iterative structures—visual propositions that remain open to change, failure, and reassembly.
These drawings do not illustrate transcendence; they enact a persistent, processual striving toward it.
The title Eyes Turned Skyward introduces a cosmological register, but it is not prescriptive. Rather than invoking the spiritual in dogmatic terms, Gerard’s work engages what cultural theorist Jane Bennett might call “the sensuous specificity of matter”—a material poetics that attends to the resonance of form, the presence of absence, and the quiet thresholds between the visible and the felt.
By emphasizing process over product, and material fact over symbolic gesture, Gerard’s work offers a subtle yet potent critique of dominant visual economies. In a moment characterized by speed, image saturation, and algorithmic flattening, Eyes Turned Skyward insists on the value of looking slowly, of thinking spatially, and of remaining open to the unknown. It is in this suspended, scaffolded state of becoming that Gerard’s work finds its most urgent relevance.
Celia Gerard (b. 1973, raised in NYC) received her BA with Honors in Art and Art History from Colgate University, her MFA in Sculpture from the New York Studio School of Drawing, Painting and Sculpture
and her EdM from Harvard University. In addition, she studied with Nicolas Carone and Bruce Gagnier at the International School of Art in Umbria, Italy.
One-person exhibitions include Sears-Peyton Gallery; Maya Frodeman Gallery, Jackson, WY; John Davis Gallery, Hudson, NY. Her work has been included in numerous national and international group exhibitions, including the National Academy Museum, New York, NY and Harvard University. Awards and grants include the S.J. Wallace Truman Fund Award for graphics from the National Academy Museum; Artist-in-residence, the New York Studio School; Seligman/ Von Simpson award for excellence in sculpture; LCU foundation grant; and a sculpture fellowship from the Cathedral of St. John the Divine.
Her work has been written about in ARTnews, The Daily Beast, ARTSY, Artspace, The NY Sun, Parabola, works & conversations, and City Arts. She currently teaches at the School of Visual Arts, and has taught at Columbia University, Pratt Institute, Bard College, Swarthmore, the New York Studio School, Saint Ann’s School and Riker’s Island Correctional Facility. She lives and works in Brooklyn, NY.
Maya Meissner
Mixed media on handmade paper 39 x 59 inches
DEVI, 2024
Mixed media on handmade paper
40 x 50 inches
TRIO, 2024
Ink, watercolor, coffee, casein, Flashe, graphite, colored pencil, and charcoal on handmade paper
29 1/2 x 24 1/2 inches
LOVE BIRDS, 2025
Mixed media on handmade paper 26 x 40 inches
MOONLIGHT, 2024
Ink, watercolor, coffee, casein, Flashe, graphite, colored pencil, and charcoal on handmade 30 x 24 3/4 inches
JANE’S HAWK, 2025
Ink, watercolor, casein, Flashe, graphite, colored pencil, and charcoal on handmade paper
20 1/2 x 22 1/4 inches
LAW OF THREE, 2025
CLEARING, 2025
Ink, watercolor, casein, Flashe, graphite, colored pencil, and charcoal on handmade paper
18 3/4 x 13 1/2 inches
Ink, watercolor, casein, Flashe, graphite, colored pencil, and charcoal on handmade paper
17 1/2 x 10 3/4 inches
ROSE MOON, 2025
Ink, watercolor, casein, Flashe, graphite, colored pencil, and charcoal on handmade paper 12 x 16 inches
ANCIENT CITY, 2025
Ink, watercolor, casein, Flashe, graphite, colored pencil, and charcoal on handmade paper
9 1/2 x 9 1/4 inches
LANDSCAPE NO. 1, 2025
Ink, watercolor, casein, Flashe, graphite, colored pencil, and charcoal on handmade paper
6 3/4 x 9 3/4 inches
LANDSCAPE NO. 2, 2025
CELIA GERARD: STATEMENT
I explore the spiritual and spatial dimensions of abstract form through a process-based drawing practice. Each piece is built slowly, through iterative gestures of drawing, tearing, sanding, redrawing, and recomposition. Rather than beginning with a resolved image, I start with questions — thick or thin? light or dark? straight or curved? — allowing the work to evolve and develop over time. My process is one of accumulation and excavation: forms are discovered, undone, and reassembled until the surface begins to reveal its own logic. This new series of works continues my long engagement with drawing as a site of inquiry — where the spiritual and the structural converge, and where form emerges not as a fixed design but as a field of becoming. The surfaces document structure in flux, decisionmaking over time, and the possibilities that emerge when systems are tested, broken, and rebuilt.
like mantras or constellations. Motifs recall sacred diagrams, weathered ancient monuments, or celestial maps. Planes shift, edges dissolve, and shapes echo across the surface like breath or memory, permeable and repeating in variation. Color is atmospheric, restrained — washed violets, pale earths, blues and whites — creating a sense of both material density and spatial lightness. The drawings resist resolution, instead offering quiet spaces for reflection, where the handmade intersects with the ephemeral.
The compositions are anchored by geometric structures — triangles, arcs, circles, grids — that act as both frameworks and disruptions, repeating
In an era increasingly defined by fragmentation, distraction, and acceleration, my work offers a counterpoint: a practice of slow, embodied abstraction rooted in touch, and interiority. As a woman, a mother, and a teacher, my practice is necessarily attuned to cycles of attention and return. I weave together moments of focus over time. The process is devotional. Nothing is rushed. What results is a kind of visual liturgy or offering — an invitation to participate in an inner search.
CELIA GERARD
EDUCATION
2007 M.F.A. New York Studio School of Drawing, Painting and Sculpture
2003 Ed.M. Harvard University
1996-98 The International School of Art, Montecastello di Vibio, Italy. Studied with Bruce Gagnier and Nicolas Carone.
1995 B.A. Colgate University, Art and Art History, Cum Laude
SOLO EXHIBITIONS
2025 Eyes Turned Skyward, Maya Frodeman, Jackson, WY
2024 Forces of Life, Sears-Peyton Gallery, New York, NY
2019 Sculpture, John Davis Gallery, Hudson, NY
2018 In This Blue Light, Tayloe Piggott Gallery, Jackson, WY
2017 ASCENT/DESCENT, Sears-Peyton Gallery, New York, NY
2015 Works on Paper, Tayloe Piggott Gallery, Jackson, WY
2014 Lost at Sea, Sears-Peyton Gallery, New York, NY
2012 New Work, Tayloe Piggott Gallery, Jackson, WY
2011 Regions of Unlikeness, Sears-Peyton Gallery, New York, NY
2010 Recent Work, Mark Potter Gallery, Watertown, CT
2008 Drawings, NYSS Dumbo Annex, Brooklyn, NY
2007 Drawings, the shala, New York, NY
2007 MFA Thesis Exhibition, New York Studio School, New York, NY
2006 Recent Work, NYSS Gallery, New York, NY
1995 Thesis Exhibition, Colgate University Art Gallery, Hamilton, NY
SELECTED GROUP EXHIBITIONS
2023 Project Room: Summer Preview, SearsPeyton Gallery, New York, NY
2022 Winter Group Show, Sears-Peyton Gallery, New York, NY
NYSS Benefit Auction, New York Studio School, New York, NY
2021 Innovations of Paper, Tayloe Piggott Gallery, Jackson, WY
Dallas Art Fair, Sears-Peyton Gallery, Dallas, TX
2020 Summer Selections, Sears-Peyton Gallery, New York, NY
2019 summer essentials, Sears-Peyton Gallery, New York, NY
Patterns of Influence, The Painting Center, New York, NY
NYSS Juried Alumni Invitational, New York, NY
Fur Cup, Underdonk Gallery, Brooklyn, NY
2018 THE GREATEST SHOW ON EARTH, Sideshow Gallery, Brooklyn, NY
Anima Mundi, Celia Gerard and Emily Auchincloss, Kate Oh Gallery, New York, NY
X Marks the Spot, NY Studio School Juried Exhibition, New York, NY
Greenwich House Pottery Artists Exhibition, Jane Harsook Gallery, New York, NY
2017 Light in the Dark, Sears-Peyton Gallery, New York, NY
All in One, Kate Oh Gallery, New York, NY
ISCP Invitational Benefit Auction, Ryan Lee Gallery, New York, NY
NYSS Juried Alumni Invitational Exhibition, Steven Harvey and Jennifer Samet, jurors. New York, NY
Greenwich House Pottery Artists Exhibition, Jane Harsook Gallery, New York, NY
SIDESHOW NATION V, Thru the Rabbit
Hole 2, Sideshow Gallery, Brooklyn, NY
2016
Greenwich House Pottery Artists Exhibition, Jane Harsook Gallery, New York, NY
SIDESHOW NATION IV, Thru the Rabbit
Hole, Sideshow Gallery, Brooklyn, NY
2015 NYSS Benefit Auction, New York, NY
NYSS Juried Alumni Invitational Exhibition, Jason Andrew, juror. New York, NY
CIRCLE THE WAGONS, Sideshow Gallery, Brooklyn, NY
2014 Pratt Foundation Faculty Exhibition, Rubelle and Norman Schafler Gallery, Pratt Institute, Brooklyn, NY
Benefit Invitational, The Painting Center, New York, NY
September Exhibition, Sears-Peyton Gallery, New York, NY
NYTAS Group Show, ACTIVESPACE, Brooklyn, NY
one thousand nights and one night: sleepless nights of sheherazade, the 21st annual watermill center auction, Watermill, NY
Sideshow Nation II, Sideshow Gallery, Brooklyn, NY
2013 Dolce Far Niente, Sears-Peyton Gallery, New York, NY
SIDESHOW NATION, Sideshow Gallery, Brooklyn, NY
2012 Pratt Foundation Faculty Exhibition, Rubelle and Norman Schafler Gallery, Pratt Institute, Brooklyn, NY
MIC: CHECK (OCCUPY), Sideshow Gallery, Brooklyn, NY
Float, Sears-Peyton Gallery, New York, NY
2011 New York Studio School Alumni Exhibition, John Newman, juror. New York, NY
PULSE LA (Sears-Peyton Gallery), Los Angeles, CA
Fall Gallery Exhibition, Tayloe Piggott Gallery, Jackson, WY
Summer Paper, Lori Bookstein Gallery, New York, NY
Scalding Hot, Sears-Peyton Gallery, New York, NY
It’s All Good (apolcalypse now), Sideshow Gallery, Brooklyn, NY
2010 For the Love of Paper, Tayloe Piggott Gallery, Jackson Hole, WY
Summer Group Exhibition, Sears-Peyton Gallery, NY, NY
ART for HAITI Invitational, Lohin Geduld Gallery, NY, NY
2009 Coolidge Center for the Arts, WentworthCoolidge Mansion, Portsmouth, NH
Open Your Arms to the Sun, Sears-Peyton Gallery, NY, NY
2008 183rd Annual Invitational Exhibition, National Academy Museum, NY, NY I Wonder If You Know What It Means, Sears-Peyton Gallery, NY, NY
2007 Inaugural Show: Drawings, NYSS in DUMBO, Brooklyn, NY
2005 LREI Invitational Auction, I-20 Gallery, NY, NY
2003 Sculpture and Painting, Gutman Library, Harvard University, Cambridge, MA
2000 Group Show, 68 Greenpoint Gallery, Brooklyn, NY
1998 Summer Show, The International School of Art Gallery, Italy
AWARDS AND HONORS
2018 Honorable Mention, Mercedes Matter/ Ambassador Middendorf Award, NYSS
2008 S.J. Wallace Truman Fund Award for Graphic Design, National Academy Museum
2007 LCU Foundation Grant for Women Graduate Degree Candidates
2005-07 Seligman/ Von Simson Scholarship for Excellence in Sculpture
2000 Cathedral of St. John the Divine Sculpture Fellowship
1995 Honors in Art and Art History, Colgate University
RESIDENCIES
2019-2020 New York Studio School, DUMBO Artistin-residence, Brooklyn, NY
2015 Spruceton Inn Artist Residency, West Kill, NY
2007-08 New York Studio School, DUMBO Artist-inresidence, Brooklyn, NY
BIBLIOGRAPHY
Andrea Scott, “Fur Cup”, The New Yorker, November 2019.
Torey Akers, “7 Artists to Watch: September 2019”, Artspace, September 5, 2019.
Carol Diamond, “Cubist Art, Fresh Angles”, The New York Sun, April 28, 2017.
Charles Schultz, “Celia Gerard: ASCENT / DESCENT”, ARTSY, April 2017.
Erika Dahlby, “Works on paper bring imaginary landscapes to life”, Jackson Hole News & Guide, December 16, 2015.
Leigh Patterson, “Celia Gerard Profile”, Apiece Apart Woman, October 2015.
Charles Schultz, “A Form between Forms: An Interview with Celia Gerard”, ArtSlant, January 2014.
Justin Jones, “In ‘Lost at Sea’ Exhibition, Celia Gerard’s Sculpture turns to Drawing”, The Daily Beast, January 11, 2014.
Douglas Maxwell, “Celia Gerard at Sears-Peyton”, MAX-ART, January 2014.
Katy Niner, “NYC residents explore infinite,
indefinite”, Jackson Hole News&Guide, May 16, 2012.
Mario Naves, “Celia Gerard at Tayloe Piggott Gallery”, Too Much Art Blog, May 2012.
Mona Molarsky, “Celia Gerard at Sears-Peyton”, ARTnews, April 2011.
Tracy Cochran, “Regions of Unlikeness”, Parabola Editor’s Blog, February 13, 2011.
Mario Naves, “Celia Gerard: Regions of Unlikeness”, CityArts, February 8, 2011.
Richard Whittaker, “Celia Gerard: Portfolio,” works + conversations, No.17 (Fall 2008): 32-33. Six Sculptors, catalogue essay by Garth Evans. 2007.
GALLERY REPRESENTATION
Sears-Peyton Gallery, New York, NY
Maya Frodeman Gallery, Jackson, WY
TEACHING CAREER
2010-present Faculty, School of Visual Arts, New York, NY.
2014-2018 Adjunct Assistant Professor, Columbia University, New York, NY.
2012-2016 Visiting Assistant Professor, Pratt Institute, Brooklyn, NY.
2011 Visiting Assistant Professor, Studio Arts, Swarthmore College, Swarthmore, PA.
2009 Visiting Instructor, Visual Arts, Bard College, Annandale-on-Hudson, NY.
2008-2017 Invited Guest Critic, Sculpture and Drawing, The New York Studio School, New
York, NY.
2008-2009 Adjunct Instructor, Fine Arts, Centenary College, Hackettstown, NJ.
2007-2015 Visiting Instructor, Sculpture, The New York Studio School, NY, NY.
2003-2009 Drawing Instructor, Jane Rosen Summer Drawing Workshop, San Gregorio, CA.
2003-08 Manager, School Programs, Rubin Museum of Art, NY, NY.
1999 Teaching assistant to Jane Rosen, Bard College Summer Program, Lacoste, France
1996-98 Teaching assistant to Jane Rosen, Bard College, Annandale-on-Hudson, NY
1995-96 Studio assistant, Tallix Foundry, Beacon, NY
1994-96 Studio assistant to Judy Pfaff, Mahopac, NY and New York, NY
MAYA FRODEMAN GALLERY
66 SOUTH GLENWOOD STREET
JACKSON HOLE, WYOMING
TEL 307 733 0555
MAYAFRODEMANGALLERY.COM
This catalog complements Celia Gerard’s Exhibition
EYES TURNED SKYWARD
Maya Frodeman Gallery
31 July - 14 September 2025
Images courtesy of Maya Meissner
© 2025 All Rights Reserved
Rose Moon, (detail), 2025, Ink, watercolor, casein, Flashe, graphite, colored pencil and charcoal on handmade paper
